"Mrs. Cibber dead!" said Garrick, "then tragedy has died with her!"[91] When he uttered this, on the 31st of January 1766, he little knew that a young girl, named Sarah Kemble, then in her twelfth year, was a strolling actress, playing juvenile tragedy, and light opera, was reciting or singing between the acts, and was preparing herself for greatness. Let us look back to the early time and the room over the upholsterer's shop, in King Street, Covent Garden, where Tom Arne and his sister, Susanna Maria, are engaged in musical exercises. Tom ought to have been engrossing deeds, and that fair and graceful, and pure-looking girl, to be thinking of anything but coming out in Lampe's opera, "Amelia," the words by Carey. The old Roman Catholic upholsterer had been sorely tried by the heterodox inclinations of his children. They lived within sound of the musical echoes of the theatres, and thereof came Dr. Arne, the composer, and his sister, the great singer, the greater and ever youthful actress. In 1732, Susanna Maria Arne appeared successfully in Lampe's serious opera, "Amelia," which was "set in the Italian manner," and brought out at what was called the "French Theatre," in the Haymarket. Miss Arne was then about twenty years of age, with a symmetry of figure and a sweetness of expression which she did not lose during the four-and-thirty years she continued on the stage. In the Venus of her early days, she was as beautiful as the Venus Populari, whose mother was Dione, and her Psyche was as timid, touching, and inquiring, as she who charmed the gods from the threshold of Olympus. It is not pleasant to think that on a young creature so fair, bright, pure, and accomplished,--an honest man's honest daughter, such a sorry rascal as Ancient Pistol,--Theophilus Cibber, in fact, should have boldly cast that one of his two squinting eyes, which he could bring to bear with most effect upon a lady. When, as a newly-married couple, they stood before Colley Cibber, they must have looked like Beauty and the Beast!